As the site notes, “Pathé News was a producer of newsreels, cinemagazines, and documentaries from 1910 until 1976 in the United Kingdom. Its founder, Charles Pathé, was a pioneer of moving pictures in the silent era. The Pathé News archive is known today as British Pathé. Its collection of news film and movies is fully digitized and available online. Follow us through the 20th Century and dive into the good and the bad times of the past. Feel free to explore more than 80,000 videos of filmed history and maybe you’ll find stuff no one else has ever seen. From next week on you’ll get a new playlists each Monday and Thursday, a special collection of videos we’ve picked out for you. On top of that you’ll get a weekly highlight video every Friday! Look forward to Top Ten lists, special occasions and recent events put into context. Have fun with 3,500 hours of filmed history!”
Archive for the ‘Documentaries’ Category
As their site – follow the links above in the photo and the opening quote – accurately notes, “Film Fatales is a collective of female filmmakers based in New York who have written or directed at least one feature narrative or documentary film. Our members meet the first week of every month, hosted at the home of a different filmmaker each time. Gatherings consist of a meal, a topical conversation relevant to the creative process, and a sharing of the current projects of our members. Film Fatales has quickly become a grassroots community of collaboration and support, with over a dozen films in production by our members this year alone. By offering a space for mentorship, peer networking and direct participation, we hope to promote the creation of more stories by and about women.”
Agnès Varda never seems to get enough credit. The fore-mother of the French New Wave, long before Godard, Truffaut and the rest of the Cahiers du Cinéma crowd picked up a camera, Varda was making feature films from 1954, employing Alain Resnais as her editor, and pretty much setting out the basic precepts of simplicity, communality, and originality that her colleagues would later follow. But while Godard and Truffaut became art house darlings in the 60s – and certainly their work deserves the attention it got – Varda was somehow overlooked, although such films as Cleo from 5 to 7, Les Creatures, and Le Bonheur remain absolutely daring in their approach to the film medium, as well as dynamics of relationships between men and women, and particularly in affairs of the heart.
As the volume’s website notes, “Agnès Varda, a pioneer of the French New Wave, has been making radical films for over half a century. Many of these are considered by scholars, filmmakers, and audiences alike, as audacious, seminal, and unforgettable. This volume considers her production as a whole, revisiting overlooked films like Mur, Murs/Documenteur (1980–81), and connecting her cinema to recent installation work. This study demonstrates how Varda has resisted norms of representation and diktats of production. It also shows how she has elaborated a personal repertoire of images, characters, and settings, which all provide insight on their cultural and political contexts. The book thus offers new readings of this director’s multifaceted rêveries, arguing that her work should be seen as an aesthetically influential and ethically-driven production where cinema is both a political and collaborative practice, and a synesthetic art form.”
In five succinct chapters, detailing Varda’s place within cinema history, her “ethics of filming,” and the aesthetic and technical concerns that inform her films, Bénézet, who teaches comparative literature in the School of Languages, Linguistics, and Film at Queen Mary, University of London, offers a compelling case for Varda as a major filmmaker of not only 20th century, but also 21st century cinema, and one of the most successful at embracing digital cinema in her newer films, such as the transcendent documentary feature The Gleaners and I, shot entirely on a small home digital camera. Bénézet makes it clear that Varda has never stopped evolving as both a filmmaker and an artist in general, embracing new technology and the changing culture of France to create work of stunning resonance and beauty with absolutely minimal resources.
Varda has survived many of her contemporaries, and she keeps on working to this day; in the end, Varda is finally managing to get some measure of the respect and care she so clearly deserves simply by the act of sheer survival – she has outlived her detractors, mostly male, who really couldn’t see the value in her work. Dismissed or marginalized when first released, her films, now lovingly restored by Varda herself in DVD editions available throughout the world, have finally taken their place in the cinematic canon along with those of her male counterparts. There have been other excellent books on Varda, but this particular text, neatly illustrated with frame blow-ups, and graced with a detailed filmography, is one of the best, and also has the virtue of being the most complete.
As the Directors Guild of America website notes, “founded in 2000, the DGA’s Visual History Program has conducted more than 160 interviews with directors and director’s team members discussing their careers and creative processes in film, television and other media.” These include such luminaries as Agnes Varda, Constantine Costa-Gavras, Claude Lelouch, Robert Altman and many, many others. You can see the interviews by clicking on the image above, and then searching the data base, or clicking on the images of some of the directors featured this month. My friend Dennis Coleman brought this to my attention; many thanks, Dennis! This is is an incredible resource.
Alejandro Jodorowsky famously made the metaphorical “western” El Topo, but his output has been minimal over the years, perhaps because he tries to mount such elaborate projects. Here’s the trailer for a film about his version of the classic science-fiction novel Dune, which never got made for various reasons. As Tartaglione reports, “Frank Pavich’s Jodorowsky’s Dune debuted in the Directors’ Fortnight sidebar in Cannes last year before being acquired by Sony Pictures Classics and playing the fall fest circuit. A trailer has dropped for the documentary about veteran Chilean filmmaker Alejandro Jodorowsky‘s ill-fated attempt to bring Frank Herbert’s seminal sci-fi novel, Dune, to the screen.
In the mid-1970s, Jodorowsky (El Topo, Holy Mountain, Santa Sangre) came up with an ambitious take on the tome and spent two years in pre-production. The film was to star Jodorowsky’s own 12-year-old son Brontis alongside Orson Welles, Mick Jagger, David Carradine and Salvador Dali, set to a musical score by Pink Floyd with art design by H.R. Giger and Jean ‘Moebius’ Giraud. But the project ultimately went unrealized and the rights lapsed.
David Lynch made his own version of Dune in 1984 with Kyle MacLachlan, Sting and Sean Young. Here’s a look at what might have been.” As you can see from the trailer, a lot of work went into the design of the film, and the casting was certainly ambitious. I’m sorry that this never saw the light of day, as I think it would have been a fascinating project — perhaps better than Lynch’s version, but we’ll never know.
Spies of Mississippi covers ground that’s been mined before, but Porter has done something new here, uncovering the amazing story of “the Mississippi State Sovereignty Commission’s [MSSC] efforts to preserve segregation during the 1950s and ‘60s — when its network of informants spied on over 87,000 Americans — as it covered up violence and murder in order to preserve the status quo.” Clocking in at just an hour, Porter’s documentary is much more than a succession of talking heads; it’s a gripping, compact, and absolutely riveting mix of raw footage from the period, much of it never before seen, recently declassified documents from the Mississippi State Sovereignty Commission showing just how rampant racism was in the state, and interviews with the people who lived through the period, and know better than anyone else the reality of the situation. In an interview you can read by clicking here, or on the image above, Porter opens up about the making of Spies of Mississippi. As she told Craig Phillips,
“before I heard this story I thought I knew a lot about the era. That’s what is so wonderful about history — if we look, there are more things to find. Many people know about the FBI’s efforts to undermine the civil rights leaders, but very few people knew of the network established by Mississippi state government. And that’s what really attracted me to this story; this is not a story of a few rogue racist individuals, it’s state government, using taxpayer dollars to deny rights to a group of people based on race. I think it’s a remarkable story about abuse of power and how secrecy is not always a friend to democracy.
I was surprised by so many things, but clearly one of the most shocking was the information about the black informants. The idea that African Americans would spy for white supremacists probably should not shock me, but it did. Second, I feel like this fills in a piece of the puzzle regarding the tragic deaths of the young civil rights workers [James Earl Chaney, Andrew Goodman, and Michael 'Mickey' Schwerner]. They didn’t have an accidental run in with the racist police or the Klan, they were tracked using information from spies.
I was shocked to learn that the State of Mississippi, not just the FBI, used spies to try and intimidate and stop integration. When I learned that some of them were black I wanted to know what would motivate people. Digging into the story, it makes sense that there were complicated feelings in the African American community about the marchers and civil rights activity. There was a lot of fear.”
This is the kind of work we need much more of on television, and the sort of hard-edged and innovative reporting that only PBS seems to offer. In addition, it’s also superbly confident filmmaking, thrilling in its mastery of the medium, and the work of a master filmmaker.
As the journal’s mission statement notes, in part, “Film International covers film culture as part of the broader culture, history and economy of society. We address topics of contemporary relevance from historically informed perspectives. We wish to bridge the gap between the academy and the outside world, and encourage the participation of scholars from a variety of disciplines, as well as journalists, freelance writers, activists and film-makers.
We refuse the facile dichotomies of ‘high’ and ‘low’, Hollywood and independent, art and commercial cinema. We discuss Hollywood films seriously, and ‘art’ movies critically. We aim at becoming a truly international journal, recognising local specificities, but also the ultimate interconnectedness of an increasingly globalised world.”
FI covers international film, Hollywood film, independent cinema, and everything else in between. It features reviews, interviews, and festival reports on a regular basis, and has an egalitarian spirit which allows all critical voices to be heard, without forcing any of the writers to adhere to a particular philosophical, political, or artistic school of thought.
Commercial cinema, radical cinema, the past, present and future of the medium all meet in the pages of FI, which is absolutely free for online use with just the click of a button. I regularly contribute to FI, but I also savor the contents provided by all of the other writers for the journal, and I constantly find that FI discusses those films that other journals simply pass over, giving a well rounded perspective on the current cinema scene.
At the top left, there’s an “about” tab, where you can also download my complete cv as a pdf; next to that there are two tabs covering the 32 books that I’ve written, with the covers on display as clickable links that go directly to information on each title; next to that is a tab that goes to some 30 online articles of mine that are available out of the nearly 100 that I have written over the years; then comes a link to the Frame by Frame videos that I’ve made, with a clickable link to a carousel playlist that starts automatically and takes you through more than 70 titles; then a tab for this blog; then a tab for my film work — I have a show coming up in New York this Spring, 2014 — and finally a contact page, where you can e-mail me if you wish to.
Where to watch free movies online? Let’s get you started. We have listed here 600 quality films that you can watch online. The collection is divided into the following categories: Comedy & Drama; Film Noir, Horror & Hitchcock; Westerns & John Wayne; Silent Films; Documentaries, and Animation.
A Farewell to Arms – Free – Gary Cooper and Helen Hayes star in film based on famous novel by Ernest Hemingway. (1932)
A Matter of Life and Death – Free – Romantic fantasy film created by the British writing-directing-producing team of Michael Powell and Emeric Pressburger, and set in England during the Second World War. It stars David Niven, Roger Livesey, Kim Hunter, Marius Goring and Raymond Massey. (1946)
A Star is Born – Free – Janet Gaynor portrays Esther Blodgett, a starry-eyed small town girl dreams of making it in Hollywood. (1937)
Adventures of Robinson Crusoe – Free – The classic novel by Daniel Defoe gets adapted by the great Luis Buñuel. (1954)
Alexander Nevsky – Free – A historical drama film directed by the great Russian filmmaker Sergei Eisenstein. (1938)
An Occurrence at Owl Creek Bridge – Free – French short film directed by Robert Enrico; a hit at the Cannes Film Festival and the Academy Awards. (1962)
Andrei Rublev – Free – Andrei Tarkovsky’s film charting life of the great icon painter. Click CC for subtitles. Part 2 here. (1966)
Angel on My Shoulder – Free – A gangster comedy starring Claude Rains and Paul Muni. (1946)
As You Like It – Free – It’s Laurence Olivier’s earliest Shakespeare performance on film. (1936)
Becky Sharp – Free – The first feature film to use three-strip Technicolor film, or, put differently, the first real color film. (1935).
Bottle Rocket – Free – Wes Anderson’s first short film, which became the basis for his first feature film by the same name. (1992)
Breaking the Code – Free – A biography of the English mathematician Alan Turing, who was one of the inventors of the digital computer and one of the key figures in the breaking of the Enigma code. Stars Derek Jacobi. (1996)
Cannibal! The Musical – Free – Black comedy by Trey Parker and Matt Stone, the makers of South Park. (1993)
Captain Kidd – Free – Charles Laughton and John Carradine star in film with drama on the high seas (1945).
Castello Cavalcanti – Free – Wes Anderson’s short film takes place in a hamlet tucked away somewhere in Italy. Features Jason Schwartzman, star of Anderson’s 1998 breakout Rushmore. (2013)
Charade – Free – Starring Cary Grant and Audrey Hepburn. Part romance, comedy and thriller, this public domain film has been called “the best Hitchcock movie that Hitchcock never made. (1963)
Chimes at Midnight - Free – Directed by Orson Welles, the film focuses on Shakespeare’s recurring character Sir John Falstaff and his relationship with another character Prince Hal. (1966)
Cold Sweat – Free – Charles Bronson, Liv Ullman, James Mason, and Jill Ireland star in this action packed movie about a ruthless drug runner who holds a man’s family hostage. (1970)
Cyrano De Bergerac – Free – Michael Gordon’s film based on the classic French tale. (1950)
Darwin – Free – 53-minute exploration of the life and work of Charles Darwin by Peter Greenaway. (1993)
Diary – Free – Short film by Tim Hetherington (director of Restrepo) that reflects on his ten years of war reporting. (2010)
Doodlebug – Free – One of Christopher Nolan’s early short films. Made in 1997, released in 2003.
Dreams That Money Can Buy – Free – A surrealist film by Man Ray, Marcel Duchamp, Alexander Calder, Fernand Léger & Hans Richter. (1947)
Duet for Cannibals – Free – A tale of emotional cannibalism by Susan Sontag. A pair of psychological & sexual cannibals come close to devouring a younger couple. (1969)
Eat, Sleep & Kiss – Free – Three silent anti-films by Andy Warhol. (1963-1964)
Evidence – Free – From the maker of Koyaanisqatsi, a short film about kids watching cartoons (1995).
Fear and Desire – Free – An uncut print of Stanley Kubrick’s “lost” early film. (1953)
Five Minutes to Live – Free – Amazing bank heist movie stars Johnny Cash, Vic Tayback, Ron Howard, and Merle Travis. (1961)
Flamenco at 5:15 – Free – Oscar-winning short film about a flamenco dance class given to senior students. (1983)
and many more.
About the Author
Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. To contact Prof. Dixon for an interview, reach him at 402.472.6064 or firstname.lastname@example.org. Visit him at his website wheelerwinstondixon.com.
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In The National News
National media outlets featured and cited Wheeler Winston Dixon on a number of topics in the past month. Find out more on the website http://newsroom.unl.edu/inthenews/